Swaravanshi - Music for the heart from the soul

I am presenting an Abhang (Marathi devotional) from Marathi drama Sant Kanhopatra (1931). The abhang was written in 14th century by saint-poet Sant Chokhamela, a Mahar devotee of Vithoba. The era was when the “Mahars” (an outcaste, based on the caste system) used to be forcibly kept outside city limits and only allowed to perform tasks deemed too lowly for uppercastes. The poet Chokhamela was a Dalit Mahar devotee of Vitthala living in Pandharpur, and they used to refer to their social superiors as “Johar”… In this Abhang, Sant Chokhamela pays obeisance, in all humility, to Vitthala, (referring to him as his Johar parent) offering himself as a servant of his servants and pleads that he be given any left overs of food other bhaktas have consumed… Forced to work as an indentured servant to build a wall, Chokhamela was buried under the rubble as the wall collapsed. Sant Namdev picked up his remains and buried him outside the Vitthala temple in Pandharpur where he used to worship. H...

Raag Bageshree/Bageshwari is a very beautiful raag & the main beauty of this raag lies in swars म ध & नि॒. In this raag swar प is eliminated generally, but used stylistically to anchor the beauty of its Ma and Dha. Raag Details: Bageshri is an old and ‘big’ raga, the warmth in its tones wraps the listener in enchantment. It finds mention in the older treatises as “Vageeshwari.” Thaat – Kafi Jaati – Shadav- Sampoorna Vadi Swar – M i.e म (मध्यम ) Samvadi Swar- S i.e सा (षडज) Time – Midnight Aaroh – सा नि़॒ ध नि़॒ सा, म ग॒ म, ध नि॒ सां । Avroh – सां नि॒ ध , म ग॒, (to detail… म प ध ग॒) म ग॒ रे सा । pakad – सा नि़॒ ध, नि़॒ सा, म ध नि़॒ ध म ग॒ रे सा (़ this indicates that it is a lower octave (मंद्र सप्तक) Andolan on Komal Ga (g) and nyaas on Shuddha Ma (M) Komal Swars : ग॒,नि॒ (g,n) Sharing a beginning alaap to start with.. Raag Bageshree - A beginning Alaap by swaravanshi On the lighter side, one of the songs I have always enjoyed is "Radha Na Bo...

Taare Zameen Par is one of my most favorite movies to date. This is one movie that gives such a distinct message for both parents and teachers on how to treat their children and students. It's a film about parents and children, about the pressures we put on our kids, about how we push them into becoming assembly-line products instead of encouraging them to find their own unique strengths. It's also about finding our heroes. The awareness of respect, inclusion and empathy to be fostered towards children, and specifically children with any disabilities is gradually permeating amongst the educated community. However, both parents and teachers, at times are poor role models themselves for children as they expect so much from kids, and resort to labeling or identifying or classifying children with disorders in order to deal with them. This movie gives us a perspective of how we lose sight of the big picture and makes one introspect as we identify ourselves with each of its chara...

Most of you must have heard or be aware of this plaintive contemplative deep raag called Todi also called Miyan ki Todi since it was originally composed by Mian Tansen, and was a raag that he was particularly fond of. Todi (Hindi: तोडी) is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten modes of Hindustani classical music. Ragas from the Todi ‘raganga’ include Todi (a.k.a. Miya ki Todi) itself, Bilaskhani Todi, Bahaduri Todi, and Gurjari Todi. Gurjari Todi is a commonly used derivative raag of Todi Thaat but unlike Miya ki Todi, it omits Pa both in Aaroh and Avaroh. Other Todi Thaat raags are Multani, Lilavati and Madhuvanti. Structure : Sampoorna/Sampoorna Aaroh: S r g M’ P d N S’ Avarah: S’ N d P M’ g r S Vadi – Komal Dha i.e d Samvadi – Komal Ga i.e g r, g, d are Komal/Flat notes. M’ is Tivra Ma Samay/Time : Todi is performed in the late morning. Pakad/Signature: The distinctive phrase is r/g-\r\S, where r may be subtly oscillated....

 I was absolutely captivated and enthralled by this song, originally sung by Gaan Saraswathi Smt. Kishoritai Amonkar, composed by Pt. Hridaynath Mangeshkar, and lyrics by the wonderful poetess, Shanta Shelke.  This song haunted me so much, that I had to succumb to attempting it, even if it was a shot in the dark. Complex nuances with every possible gayaki pattern I can perceive - Gamaks, quick murkhis, long meends, straight notes, layakaari, all interwoven in a lovely Rupak taal, this song was surely a challenge created by Pt. Hridaynathji, and sung simply stunningly by Smt. Kishori Amonkarji. This is based on Raag Paraj Bahar. कवयित्री - शांता शेळके संगीत : पं. हृदयनाथ मंगेशकर गायिका : किशोरी आमोणकर हे श्याम सुन्दर राजसा मनमोहना विनवुनी सांगते तुज जाऊ दे मला परतुनी || ध्रु || गाव गोकुळ दूर राहे दूर यमुना नीर वाहे ...(२) हरवले मी कसे मज चालले कुठे घनवनी || १ || पावरीचा सूर भिडला मजसी माझा विसर पडला ...(२) नकळता पाउले मम राहिली इथे थबकुनी || २ || पानजाळी ...

Presenting an aurally pleasing raaga - a simple, elegant raag Bhoopali (Bhopali or Bhoop) - I am a Hindustani vocal student, and find the Hindustani style of singing immensely calming. Needless to say the vast improvement in breath control with long singing techniques. I would like to thank my Hindustani Guru, for her constant guidance and tutelage in accordance with the timeless musical tradition of Gwalior-Kirana Gharana. Have always been drawn to Pentatonic raags - Bhoop (Mohanam in Carnatic) is one such raag which uses a pentatonic scale (5 ascending and 5 descending). Uses only shuddha swaras, and hence has an inane beauty and simplicity to its tone. Thaat: Kalyan Aaroh : Sa Re Ga Pa Dha Sa' Avaroh : Sa' Dha Pa Ga Re Sa, (Dha) Sa Pakad (signature phrase) : G R, S (D), S R G, P G, R S, (D) (D) S P G D P, G R S, ( ) is for lower octave (mandra saptak) notes, ' denotes upper octave (taar saptak) notes Vaadi: (Predominant sound) Ga Samvaadi (next of ...

Movie : Luck By Chance Music Director : Shankar Ehsaan & Loy Singer(s) : Shankar Mahadevan Lyricists : Javed Akhtar A completely western fusion take on classical Raag Bhairavi. Fabulous track with bass guitar chords throughout topped with Shankar Mahadevan's brilliant bold vocals. The Pièce de résistance of course is the classic improv-style Sargams infused by Shankarji into the middle of the song, and the high notes. What an insanely amazing artiste the world has obtained in Shankar Mahadevan. The lyrics, as always beautifully penned by Javed Akhtar, talk about the relentless pursuit of one (in this instance, a wannabe Bollywood actor) in search of their dreams. Eyes are filled with dreams, and there is many a sleepless night, but one must not give up for the sake of those awake eyes. To quote the words of Tagore.. "I have become my own version of an optimist. If I can't make it through one door, I'll go through another door -- or I'll make a door. S...